• Isa Genzken, Wind (Michael/David), 2009, plastic, poster, color copies, mirrored foil, colored paper, spray paint,
    tape, 78 7/8 × 108 3/4". From “Michael Jackson: On the Wall.”

    “Michael Jackson: On the Wall”

    National Portrait Gallery
    St. Martin's Place
    June 28 - October 21

    Curated by Nicholas Cullinan

    The impact Michael Jackson has had on pop culture and art in the late twentieth century is unmatched. The long-lasting echoes of his boundary-pushing music videos and out-of-this-world aesthetic choices were so successful that we tend to overlook how avant-garde they were at the time, as well as how beautiful. This exhibition at the National Portrait Gallery, which includes the work of more than forty artists, ranging from Andy Warhol to Isa Genzken, should help to explore Jackson’s artistic impact and shine a light on those influenced by the singer—who is, according to the institution, “the most depicted cultural figure in visual art.” Travels to the Grand Palais, Paris, November 2018–February 2019;  the Bundeskunsthalle, Bonn, March–July 2019; and Espoo Museum of Modern Art, Finland, August–November 2019.

  • Luigi Veronesi, Photo n. 152, 1940, gelatin silver print, 12 5/8 × 11 3/4". From “Shape of Light: 100 Years of Photography and Abstract Art.” © Archivo Luigi Veronesi, Milano.

    “Shape of Light: 100 Years of Photography and Abstract Art”

    Tate Modern
    May 2 - October 14

    Curated by Simon Baker and Emmanuelle de l’Ecotais

    Abstraction, an enduring tendency in modern art, regularly occasions historical overviews. Earlier shows debatably posited the camera’s inbuilt verism as a prompt to painters to abandon figuration, while more recent exhibitions have included scattered works in digital media. This Tate survey encouragingly finds in photographic abstraction neither a specter nor a sideline but a motive force. With more than three hundred works in painting, photography, sculpture, and prints that date from roughly 1915 to the present, this exhibition should bring forth a range of catalysts: from patterning to politics, science to synesthesia. Attention to select mid-twentieth-century European figures—Floris Neusüss and Gottfried Jäger in Germany; Luigi Veronesi in Italy; Guy Bourdin and William Klein in France—will permit a fresh perspective on a postwar history long tilted toward painting and the United States. 

  • Tacita Dean, Antigone, 2018, two-channel 35-mm film, color, sound, approx. 60 minutes.

    “Tacita Dean: Landscape”

    Royal Academy of Arts | Piccadilly
    Burlington House, Piccadilly
    May 19 - August 12

    Curated by Sarah Lea and Desiree de Chair

    “Landscape” is one of a trio of genre-themed exhibitions Dean will present in London this spring, as part of an unprecedented collaboration between three major institutions. (The National Portrait Gallery will focus, unsurprisingly, on Dean’s portraiture, and the National Gallery will show her still lifes.) Dean’s landscapes span disparate materials—chalk drawings, films, gouache on found postcards—but a beguiling interest in the contingent and the ephemeral is found throughout the artist’s extensive engagement with the genre. At the Royal Academy, a survey of this work will be accompanied by the premiere of a 35-mm film made using the same aperture—masking technique the artist developed for FILM, 2011, her monumental commission for Tate Modern’s Turbine Hall. Like that paean to analogue materiality, this new film will rely on distinctly photochemical means to explore the possibilities of compositing, an operation typically associated with digital imaging.  

  • Joan Jonas, Double Lunar Rabbits, 2010, video, color, sound, 4 minutes. © Artists Rights Society (ARS), New York/DACS, London.

    Joan Jonas

    Tate Modern
    March 14 - August 5

    Curated by Andrea Lissoni and Julienne Lorz with Monika Bayer-Wermuth

    Tate Modern March 14–August 5 Curated by This exhibition will be the largest survey of Joan Jonas’s work ever presented in the UK, and the first to make use of multiple venues within Tate Modern and adjacent outdoor waterfront spaces. Displaying twenty works spanning Jonas’s five-decade-long career, the show will include large-scale multimedia installations, single-channel videos, films, and live performances, including germinal works such as Mirror Piece, 1969; Organic Honey’s Visual Telepathy, 1972; Mirage, 1976; The Juniper Tree, 1976; Reanimation, 2010;and Lines in the Sand, 2002–2005. In keeping with Jonas’s interest in returning to earlier projects as the basis for new work, several of the performances will be reinterpreted. A fully illustrated catalogue will provide a diverse collection of interviews with Jonas at different moments in her career, but the question remains: When will a comparable exhibition of Jonas’s work be mounted in the United States? Travels to Haus der Kunst, Munich, November 9, 2018–March 3, 2019.